Polish director Jan Komasa might be best known in the United States for his 2019 Oscar-nominated film “Corpus Christi,” but his biggest box-office success was in Poland for his 2014 film “Warsaw 44,” about the Warsaw Uprising, the bloody effort by the Polish resistance to expel the occupying German army from the city toward the end of World War II.
Komasa knows authoritarianism in its most flagrant, brutal forms, but his new film “Anniversary” imagines a scenario in which fascism doesn’t stomp in, jackbooted, but creeps, pretty and ladylike, on kitten-heeled feet. It’s a thought experiment more than anything else, from a story by Komasa and Lori Rosene-Gambino, the latter who wrote the screenplay.
“Anniversary” maps five years in the life — and obliteration — of an American family, a microcosm of a larger rapid political devolution that turns suburban utopia into a dystopia with a speed that could make your head spin.
Meet the Taylors — we’ll get to know them across reunions and celebrations starting with an anniversary party for Ellen (Diane Lane) and Paul (Kyle Chandler). She’s a professor at Georgetown, a public intellectual caught up in the university culture-wars debate; he’s a chef, and they have four children upon whom they dote: Cynthia (Zoey Deutch, also in this week’s “Nouvelle Vague”), an environmental lawyer, Anna (Madeleine Brewer), a provocative comedian, high-school science nerd Birdie (Mckenna Grace) and brother Josh (Dylan O’Brien), a nebbishy, struggling writer. The camera knits them all together in long shots, swirling around their idyllic backyard.
Josh has brought home a new girlfriend, Liz (Phoebe Dynevor, of 2023’s “Fair Play”), who is carefully coiffed and poised, immaculately presented and mannered, though her perfection gives his sisters pause. After the introductions, she and Ellen have a quiet, awkward moment together. As one of Ellen’s former students, Liz wrote a thesis that scandalized the professor, which Ellen describes to her husband as having “radical anti-democratic sentiments,” advocating for a single-party system. The title? “The Change.”
While Liz says she “came here with the best of intentions” and claims she and Josh were introduced by their shared agent, Ellen is suspicious and rightly so. The enigmatic Liz is mild-mannered and quiet, but her ideas are anything but. As she hugs Ellen, she whispers, “I used to be afraid of you but I don’t think I am anymore.” That is never more clear than when she sends Ellen a copy of her newly published book, “The Change,” dedicated to “the haters, the doubters and the academic stranglers.”
Two years later, the Change is officially afoot. Liz is a celebrity, now working with a mysterious organization called the Cumberland Company. She and Josh are married, pregnant with twins, and he’s achieved a conservative glow-up. New flags are popping up in the Taylor’s well-heeled neighborhood and things are shifting in ways that make Ellen uncomfortable, enraged even. But in the spirit of politeness and family unity, she acquiesces to Paul’s desire for a nice family Thanksgiving, despite their political differences.
Therein lies what might be “Anniversary’s” biggest warning: Don’t let the fox into the henhouse, even if it seems rude not to. Ellen maintains an appropriately wary distance and skepticism of Liz, but Paul’s fatal flaw is his assumption of good faith. He hasn’t even read “The Change” because, frankly, he doesn’t want to know. But as Liz attaches herself to Josh like a parasite, perhaps in an attempt to enact revenge on her former professor, so too do the other Taylor children topple as the nation changes under their feet.
Some might find “Anniversary” too vague: What, precisely, is Liz’s political stance that makes her so powerful and so repugnant to Ellen? She has advocated for a “single-party system” branded under the guise of “solidarity,” but the result is an autocratic surveillance state that suppresses free speech, upheld by a violent paramilitary police force. The film never gets into the specifics, perhaps because the only ideology of fascism is the concentration of power. “Anniversary” suggests the rhetoric doesn’t matter when we can turn on each other so easily, humanity and freedom crushed under such a state.
It is fascinating that recent movies that attempt to grapple with contemporary sociopolitical issues often feminize the threat: the #MeToo cancel culture fable “Tár” or this year’s academia scandal film “After the Hunt.” “Anniversary” situates a nonthreatening woman as the vessel for such evil, even as Liz’s male host, Josh, starts to embody the most extreme outcomes of what she has set in motion.
“Anniversary” is a deeply nihilistic film that can’t be described as a cautionary tale — that horse has already left the barn. Rather, it’s a hypothetical question as character study, an examination of how this happens and an assertion that a system like this shows no mercy, not even to its most loyal subjects, despite what we want to believe.
Walsh is a Tribune News Service film critic.
‘Anniversary’
Rated: R, for language throughout, some violent content, drug use and sexual reference
When actor Cooper Hoffman pops up on a Zoom window for a joint interview, Andrew Barth Feldman practically bursts with joy.
“Oh my God,” Feldman exclaims. “Look at the buzz!”
The two friends, each in their own apartments in New York City, have not seen each other since Hoffman recently returned from Italy where he was shooting a role in Luca Guadagnino’s upcoming movie about the artificial intelligence company OpenAI, his hair styled in a severe, dark buzz cut.
The pair immediately launch into a spirited, rhythmic back-and-forth, playfully bouncing around ideas, making jokes and finishing each other’s sentences. It is similar to the nonstop banter between their duo in “Poetic License,” which has its world premiere at the Toronto International Film Festival tonight.
The first feature film directed by Maude Apatow, best known for her role on TV’s “Euphoria,” the film stars Apatow’s mother, Leslie Mann, as Liz, a woman who recently moved to a college town after her husband (Cliff “Method Man” Smith) joined the faculty there. Auditing a poetry class, Liz meets Ari (Hoffman) and Sam (Feldman), two awkward yet compellingly charming best friends who soon find themselves competing for her attention and affection.
Written by Raffi Donatich, the film is the first from Jewelbox Pictures, Apatow’s production company founded with her friend Olivia Rosenbloom, and comes into the festival still seeking distribution. (Keeping things in the family, the debuting director’s father, Judd Apatow, is a producer on the film as well.)
Via email, Maude Apatow spoke about the challenge of finding two actors who could not only play their individual roles, but also capture the speedy dynamic between them.
“A lot of the movie relies on the chemistry between Ari and Sam, so finding the perfect combo was massively important to me,” Apatow, 27, said. “After auditioning countless other boys, Andrew and Cooper were at the top of my list. … They were electric.”
Hoffman, 22, the son of late actor Philip Seymour Hoffman and director-producer Mimi O’Donnell, first burst to attention with his starring role in Paul Thomas Anderson’s 2021 “Licorice Pizza.” He can also be seen in the new Stephen King adaptation “The Long Walk,” which opens next week, and he has a role in Gregg Araki’s upcoming “I Want Your Sex.”
Feldman, 23, stepped into the title role of “Dear Evan Hansen” on Broadway at age 16, younger even than the adolescent title character. He also starred opposite Jennifer Lawrence in the 2023 comedy “No Hard Feelings,” in which his torchy showstopping performance of Hall & Oates’ bouncy ’80s “Maneater” has since racked up more than 18 million views on YouTube.
My conversation with the two actors took place on Labor Day. The following day Feldman began his nine-week run in the Tony-winning musical “Maybe Happy Ending.” Though playing the role of a robot, his casting, replacing the half-Filipino actor Darren Criss, sparked controversy and conversation around Asian representation on Broadway.
“It’s been the most vulnerable time of my whole entire life,” said Feldman of the response to his being cast in the show. “And I have much I want to say and for now the only place I really can is the show. I’m saying everything that I want to say, everything that I believe, I’m pouring my whole heart into the show itself. And I’m thankful that the conversation that’s been happening is happening. And I think this is my way of being part of it.”
“And one day we’ll have a much bigger conversation about it,” he adds, carefully. “But right now, I’m more excited to be talking about ‘Poetic License’ and anything would be reductive to the conversation to talk about it in this context. I don’t think it’s up to me to try to change any minds about it, only to do the best job I possibly can at uplifting this gorgeous, perfect story. Everything that I have to say for the time being is in the show. The show holds all of it.”
Feldman will miss three performances of the show over the weekend due to being in Toronto for the premiere of “Poetic License.”
Did the two of you meet making Jason Reitman’s “Saturday Night?”
Andrew Barth Feldman: Boy, did we.
Cooper Hoffman: We also got this job [“Poetic License”] on “Saturday Night.”
Feldman: So here’s the story. We’ve been preparing to tell it for so long. And this is what happened: We became really fast, really close friends on “Saturday Night” and that was a huge cast of a lot of people who are still huge parts of both of our lives. But we clicked really instantly.
And I was taping for this movie and Cooper was taping for this movie, and we both loved the script and, especially on that set, everyone was taping for all of the same things all of the time. So I got a call from my agent that they were asking me to chemistry-read with Cooper and since we were in the same place, might as well be convenient if we just do it in the same place on Zoom. Cooper was on his way to hanging out with me at Dylan O’Brien’s Airbnb. I was already there and Cooper’s on his way. So I called him, told him that this was happening. That’s how he found out that we were chemistry-reading together. And I think both of us said, “Oh, we got the job.” Like, that’s it. As soon as they see what we do when we’re alone together and how insane it is, we’ll have this job. And that’s how it happened.
Hoffman: It’s so true. We ended up running the lines with Dylan O’Brien playing — I don’t know why we keep using his full name — but Dylan playing Leslie Mann’s character. Dylan played Liz.
Feldman: He was really good. I was kind of hoping he would do it.
Andrew Barth Feldman, attending the London premiere of “No Hard Feelings” in 2023.
(John Phillips / Getty Images for Sony Pictures)
Why do you think the two of you just clicked like this?
Feldman: Why do you love who you love? I think there are a lot of real similarities to us. We both had losses of parents really early on in our lives. And that I think instantly brought us to a level of vulnerability with each other that we didn’t necessarily have with other people. But in terms of the candor and the rhythm that we have with each other, it’s just kind of feels like one of those universe once-in-a-lifetime things.
Hoffman: I would very much agree. It was one of those weird things where, as we had to play best friends, we were kind of figuring each other out. Andrew was always someone that I felt very comfortable talking to about things. We rarely would talk about the movie. It was much more about life and other things. And I feel very privileged to have shot this movie with Andrew, actually.
There is something really fresh about your dynamic. The best I can describe the movie is that it’s an adult coming of age rom-com of male friendship.
Hoffman: I would say that’s better than anything that we would say. To me, the thing is that I love a male friendship. I love a male friendship that almost feels like they’re dating, they’re one step away from being married. And what does that bring? What happens when you rely on someone so heavily?
Cooper Hoffman arrives at 2022’s Vanity Fair Oscar Party in Beverly Hills.
(Evan Agostini / Invision / AP)
Feldman: I feel like we both had relationships growing up that you’re basically zero degrees away from romance. It is a romantic relationship. And that is — or was, I guess? — formerly maybe more taboo. There are more expectations of masculinity around that. But I think especially in our generation and especially as people who have decided to do art with our lives, there’s really no taboo around it at all. And in fact, something to be really celebrated. It is kind of the healing factor for young men right now: male relationships that you can be really vulnerable in.
And besides being Sam and Ari’s relationship, it was — and is — Cooper’s and my relationship. We couldn’t shut up really. I mean, that’s important to note is that we never, ever stopped talking. We would be talking and talking and then somewhere during our conversation we would hear action be called and we would just keep talking until we found our way into the scene. Kind of the way we did the whole movie was just trying to tell as much truth as possible because we knew that our relationship was all that really needed to be there to make the relationship of the characters work.
Hoffman: I also just had a thought that this interview’s going to be so annoying to read because it’s literally just going to be me and Andrew complimenting each other for however long. You should have never put us on a call together.
Feldman: This is our first interview about this.
Cooper Hoffman in Paul Thomas Anderson’s 2021 movie “Licorice Pizza.”
(MGM/UA)
How did the two of you find working with Maude? On the one hand, this is her feature directing debut. On the other hand, she’s been on movie sets her whole life.
Feldman: She was really good. In all of those moments of improvisation and exploring, she was a massive collaborator in that. And was pushing both of us to places that I wouldn’t have gone initially, risky places in these scenes. Every time we would shoot something, we’d do it, go away and talk about it for 10 minutes and just be inventing and zip-zap-zopping across the three of us, and then just be like, OK, let’s go get another one. It was this really creative process that for me as a young person coming up in this industry, I haven’t really had permission to participate in up until working with somebody like Maude. She’s not too much older than us. We’re all coming at this as collaborators as opposed to hierarchically.
Hoffman: The thing with Maude is there was a real level playing field in which we were all figuring out this thing together. And Maude just has inherently very good instincts as a director. She was grounded and she knew what she wanted, but she was much more open for us to go, “Hey, we don’t know what this is. Can we figure this thing out?” And it was debatably the most collaborative set I’ve been on. Which was really great that Maude allowed for that space to happen.
Cooper, do you see your character here as an extension of what you were doing in “Licorice Pizza”? It’s this guy who outwardly has a lot of game, but then inwardly is struggling. Did it feel that way to you as you were performing the role?
Hoffman: No. And here’s the reason for that, I’m not opposed to that convo but I think a real fear of an actor is that you’re doing the same thing every time. And so I think I’m inherently going to jump to being like, “No, this is a completely different person.” And the thing is, I don’t think Ari has game. I never wanted to play it like that. I think he’s extremely confident, but, not to bring up Dylan O’Brien again but Dylan O’Brien used a very good metaphor, which is you’re like a duck. It’s calm on the surface, paddling vigorously underneath. And it does feel like that for Ari.
Andrew Barth Feldman with Jennifer Lawrence in a scene from “No Hard Feelings.”
(Macall Polay / Sony Pictures)
Andrew, you have your own background in musical theater, but you also had your rendition of “Maneater” in “No Hard Feelings.” Do people now always want you to do a number in a movie? Was there any discussion of you doing a number in this one?
Feldman: There was very briefly a discussion of me doing a number in this movie. I think I was talking to Raffi early on and she was like, “Oh my God, I had this idea, what if you actually sing this thing?” And I was like, I can’t do another one. Not right now. It’s too soon after “Maneater” and “Maneater” is still a really huge part of my life. I want to give that moment its moment.
What do you mean, that “Maneater” is still a big part of your life?
Feldman: People ask me to sing it all the time.
Hoffman: What do you mean? It’s a masterpiece. I watched it on a plane the other day. I cried. I literally cried. I love that scene so much. I love that movie so much.
Guys, thank you for your time. I can’t even imagine how this would’ve worked if I’d interviewed you separately.
Feldman: We wouldn’t have done it.
Cooper: I would’ve just talked about Andrew the whole time. By the way, if you would’ve gotten us in the room together, this interview would’ve never ended. It would’ve been physical bits. It would’ve been a whole thing.
Feldman: We talked on set so much about these moments — that we would get to eventually do press together and talk about the movie because we really were, from the beginning, giving one performance of these two characters together.
Sharing the spotlight with Robert Rinder, Liz Hurley stars in The Inheritance as The Deceased – an eccentric winemaker. But she admits she isn’t the biggest fan of alcohol.
Liz Hurley portrays an eccentric vintner in The Inheritance(Image: Channel 4)
Liz Hurley recently opened up about her relationship with alcohol – and it may be the secret to her ageless appearance.
Her admirers may be surprised but Liz Hurley is a Traitors superfan. So, when the chance came to star alongside Robert Rinder in C4’s The Inheritance, she didn’t hesitate.
In the new reality game show, Liz plays The Deceased, a glamorous winemaker with a lavish estate. Barrister and broadcaster Robert portrays The Executor in the show and ensures the stipulations of The Deceased’s will are followed to the letter.
“I really enjoyed The Traitors and loved the idea of being part of a show in which audiences were really invested,” Liz says, “I thought Robert Rinder and I would be a good combination.”
Though she wouldn’t mind following in the footsteps of celebrity vintners like Kylie Minogue and Brad Pitt, Liz has her own spin in mind.
“I can certainly see the glamour of having your own wine, and Brad Pitt’s rosé is actually delicious,” she says. “But I drink alcohol so rarely that I’d be more interested in trying to create an exceptionally fabulous alcohol-free wine.”
Liz Hurley and Robert Rinder team up in The Inheritance as The Deceased and her Executor(Image: Channel 4)
At 60, Liz is still gleefully playful about her roles – even if that includes lying in a coffin. “I quite enjoyed it, it was very restful,” she quips. What really stole her heart, though, was the shoot’s picturesque setting.
“Shooting at an exquisite country estate was a real treat,” she says. “The air was so fresh it felt like we were at a health retreat. It can be easier shooting on a sound stage, but I prefer real locations as it really helps with getting into character.”
Liz shines on screen but she admits she’s never been tempted to join a reality show as herself. “I have been invited on a few really good ones, but I prefer scripted work,” she says. “I don’t much like being myself on camera; it feels like I’m invading my own privacy!”
Talk of inheritance sparks a softer note. Liz treasures porcelain coffee cups passed down from her great aunt. “I think of her with every espresso,” she says.
Material possessions don’t matter much, though. “I’m not desperate to inherit anything,” she says. “I want everyone I love to check out empty, having spent every penny on enjoying themselves.”
The new C4 reality show follows 13 contestants as they battle it out to get their hands on The Deceased’s fortune(Image: Channel 4)
Produced by Studio Lambert, the powerhouse behind BBC’s The Traitors, the show takes 13 strangers, locks them inside a grand stately home, and pits them against each other in challenges to prove themselves worthy of inheriting part of The Deceased’s fortune – and it’s no easy feat.
Contestants must show cunning, teamwork and nerve, all while enduring surreal challenges that embody Liz’s camp and larger-than-life alter ego.
“They’re very right for this lady and her estate,” she says, “As the show goes on, she comes up with some interesting things.” The absurdity is clear from the very first episode.
Tasked with creating The Deceased’s trademark rose, players must gather white wine from the bottom of a lake and pick out the perfect red wine from a string of barrels. “That’s absurd, isn’t it?” Liz says, “Everyone has to put on their diving suits. I wouldn’t want to do that!”
